
jIBBi^BHBBHBHII^BHIHiH^HHBlBiHHHHBHBBHIBIIv 

T)eyii:^oni^ Royalty ^lay^ ra 



niteLie 
that Jack Built 

Qeorgia 'Earle 





TT 5. T>enhon & Coynpamj 

Viiblhher^ • Chicago 

^ri.ce 3y Cent^ 




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T. S. Denison & Company, Publishers 

154 West Randolph Street CHICAGO 



THE LIE THAT JACK BUILT 



THE 

Lie That Jack Built 

A Comedy in One Act 

BY 

Georgia Earle 

AUTHOR OF 

"Gettin' Acquainted," "The Villain," "Hitchin' Up Amos," 

"The Porchclimber," "The Lovejoy Twins," 

"The Rented Lady," etc. 

AND CO-AUTHOR 

"The Mark of the Beast " 

{.Produced at the Princess Theatre, New York) 



CHICAGO 

T. S. DENISON & COMPANY 

Publishers 






Please Read Carefully^ 



'^ 



^ 




HE PROFESSIONAL STAGE-RIGHTS 
in fhis play are ^ri<5lly reserved and all 
applications for its use sKould be ad- 
dressed to the publishers. Amateurs 
may obtain permission to produce it on 
payment of a fee of five dollars ($5.00) for each 
performance, in advance. Correspondence on 
this subject should be addressed to T. S. Denison 
& Company, 154 W. Randolph St., Chicago, 111. 

<:> '^^^ ^c:> 

c/4ttention is called to the penalties provided 
by the Copyrig,ht Law of the United States of 
America in force July 1, 1909, for any infringe- 
ment of the owner's rights, as follows : 

Sec. 28. That any person who willfully and for profit 
shall infringe any copyright secured by this Act, or who 
shall knowingly and willfully aid or abet such infringement, 
shall be deemed guilty of a misdemeanor, and upon convic- 
tion thereof shall be punished by imprisonment for not 
exceeding one year or by a fine of not less than one hundred 
dollars nor more than one thousand dollars, or both, in the 
discretion of the court. 

-^:> <o <;> 

Copyrifehi. J-910, by Georgia Earle 
under title' Mr. and Mrs Robinson" 

COPYRIGHT. 1920, BY T. S. DENISON & COMPANY 
cALL RIGHTS RESERVED 



©C!.: 



^^PS6-0Q725j 



.^]I8 






THE LIE THAT JACK BUILT 



CHARACTERS. 

Jack Ellison A Writer Chap 

Frank Montgomery His Friend 

Dora Taylor One of His "Other'' Friends 

Helen Douglas His Fiancee 



Place — Ellison's Bachelor Apartment and "Work- 
shop" in AVk' York City. 



Time — The Present. 



Time of Playing — About Thirty Minutes. 



Originally produced at the Savoy Theatre, Ne^v York City, 

October i^, igto. 

By Miss Lillian Kingsbury and the folloxvinff players: 

Jack Ellison Page Spencer 

Frank Mon'tgomery Charles Fleming 

Helen Douglas Helen Beresford 

Dora Taylor Lillian Kingsbury 

3 



THE LIE THAT JACK BUILT 



COSTUMES. 
Modern. 

Ellison and Montgomery wear sack suits and are 
well groomed. 

Dora Taylor wears a becoming afternoon frock 
and hat and carries a parasol. 

Helen Douglas is dressed in a simple traveling 
gown and carries a small traveling bag. 



PROPERTY PLOT. 

Flat top desk, desk blotter, paper, pens, pencil, 

inkwell, usual desk equipment. 
Desk telephone with reasonably long cord. 
Trash basket under desk. 
Revolving desk chair, two armchairs. 
Door bell, telephone bell. 
Bundle of laundry. 

About twenty or more photographs of girls. 
Unframed photo of Dora. 
Folding frame with two pictures of Helen. 
Large framed photograph of Helen. 
Newspapers. 

Mantelpiece, pipe for Ellison. 
Small traveling bag for Helen. 
Bills, pair of shoes, armful of shirts, collars, etc., 

hat, overcoat, suitcase and umbrella for Frank. 
Parasol for Dora. 
Books, pictures, chairs, etc., to dress the stage. 



LIGHT PLOT. 

Lights full up all through. 

Bunch liffhts at doors and windows. 



THE LIE THAT JACK BUILT 



CURTAIN CUES. 

Warning. — "Good afternoon, Bonehead!" 
Curtain. — "Come on up, I'm all alone!" 



SCENE PLOT. 



Backing 




Book Cases f~) ^ 
Chair Cliair '''(y. 



^^"'v 






•b^" 



Arm 
Cliair 



O 
Flat 



Telephone 
Top 






Arm 
Chair 



r^ 4f^^^^^>, Interior 
? DoorL1\ " 



Footlights 



_T 



STAGE DIRECTIONS. 

R. means right of stage; C, center; R.C., right 
center ; L., left ; 1 E., first entrance ; U. E., upper 
entrance ; R. 3 E., right entrance, up stage, etc. ; 
up stage, away from footlights ; down stage, near 
footlights. The actor is supposed to be facing the 
audience. 



THE LIE THAT JACK BUILT 



Scene: The scene is laid in Jack Ellison's bache- 
lor apartment, and the place where he does his 
zc'ork. There is a flat top desk C. xvhich faces the 
L. wall. A revolving desk chair stands on its R. 
side. On the desk is a large desk blotter, pens, 
ink, pencils, paper — the usual desk equipment. On 
its up-stage side is a desk telephone. There is a 
door R. 3 which opens on to the hall outside. Be- 
low this door is a window. There is a window in 
the L. wall below which is a mantelpiece with fire- 
place. On the mantel are many photographs (at 
least twenty) of pretty girls. Among them is a 
picture of Dora Taylor, which has fallen on its 
side, slightly back of some of the others. Below 
the mantel is a door L. 1, which leads into a bed- 
room. There is a chair in the windoxc L. 3. There 
is an armchair down L. in front of the mantel, 
another armchair down stage a little R. of R. C. 
Another chair is up R. near outer door. There 
are books, book-cases, pictures, other chairs, to 
dress the stage and make it look like a comfort- 
able man's room which is being lived in. Ellison's 
coat lies over the back of one of the chairs, there 
are newspapers strewn on the floor and a slight 
disorder prevails which can easily be set right. 

At rise of curtain, Jack Ellison is discovered 
seated at R. side of desk C, writing. He is in his 
shirt sleeves and is smoking a pipe as he works. 
The door^bell is heard ringing furiously off R. 3 
as the curtain goes up. 
7 



8 THE LIE THAT JACK BUILT 

Ellison. 
{Calling.) 
Oh, Montgomery! Frank Montgomery!! (Door- 
bell rings again.) „ 

* ^ ^ Frank. 

{Appearing in door L. 1, his coat off and a pair of 

boots in his left hand.) 

Hello ! 

Ellison. 

{Busily writing, not looking up.) 

See who's ringing, like a good chap ! 

Frank. 
{Dropping his boots inside the bedroom door and 
crossing to the door R. 3) 
Why don't you go.^* Have you housemaid's knee, 
clergyman's sore throat, or are you dead from the 
waist down.P {Opens door and takes bundle handed 
to him.) 

It's your laundry. Jack! 

Ellison. 

How much is it.'' 

Frank. 

Three eighty-five. 

Ellison. 

You pay it old man. Give it to you later. {He 

goes on writing unconcernedly.) 

Frank. 
{Giving Mm an expressive look.) 
Yes, "let George do it!" {To boy outside.) 
Here's four dollars, son. Keep the change. {He 
closes the door, throws the bundle of laundry on the 
chair up stage and crosses to the up-stage side of 
the desk.) I seem to be the handy man about this 
house. What'll you do when I go back to Boston.'' 



THE LIE THAT JACK BUILT 9 

Ellison. 
Hire Andrews back again. 

Frank. 
Why did you fire him.? 

Ellison. 
He knew too much. (Indicates the pictures on the 
mantelpiece.) -^ 

(Turning to the mantel.) 
Oh, did he.'' He must have had a good memory to 
keep track of this bunch ! I'd need a card index. 
Hello, who's this? (He spies Dora's picture slid 
down behind the others and picks it up. Excitedly.) 
I say. Jack, do you know — 

Ellison. 
(Absorbed in his writing.) 
Keep quiet, I'm busy. 

Frank. 
(Putting the picture back and going over to desk.) 
Polite, aren't you? When I — (His speech is inter- 
rupted by the ringing of the desk telephone bell. 
Both men make a grab for the instrument. Frank 
gets it and picks it up, grinning. To Ellison.) 
Oh, no, you don't! I'm taking Andrews' place! (He 
speaks into the telephone in an assumed voice with 
an English accent, in imitation of the discharged 
servant, Andrews.) Hello? No, this hisn't Mr. h'El- 

lison. -r^ 

Ellison. 

(In a stage whisper.) 

Who is it? „ 

l^RANK. 

(Leaning toward him in the same manner.) 
It's a woman ! 



10 THE LIE THAT JACK BUILT 

Ellison. 
(Rising hastily and reaching for the telephone.) 
Here, give it to mc ! 

FllANK. 

{Moving hack out of reach and grinning.) 
No! I'm paying the bills! {Into phone again.) 
This h'is h' Andrews, Mr. h'Ellison's man, mem. 

Ellison. 
{Making a wild gesture toward him.) 
No ! No ! ! 

bRANK. 

{Enjoying Ellison's distress. Very servilely into 
phone.) 
Who wants him, please? {Surprised and eager.) 
Miss Taylor.? Miss Dora Taylor.? {He looks at El- 
lison with a broad and knowing smile.) 

Ellison. 

{Hastily.) 

Dora ! Say I'm out and won't be back today ! 

Frank. 

{Into phone, in same assumed tone.) 

'E's out. Miss Taylor, and h'l don't know when 

'e'll be back. ^ 

Ellison. 

{Approvingly, moving dozen stage.) 

That's right! 

^ Frank. 

{Into phone.) 

I think 'e's gone for the day! (Ellison nods. 
The door-bell rings. They look at each other. 
Frank puts his hand over the transmitter.) 

You go. Jack, it's your turn. 

Ellison. 
{Going to door, uneasily.) 
Be careful what you say ! 



THE LIE THAT JACK BUILT U 

Frank. 
(Laughing.) 
You know iiic ! ,, 

lliLLISON. 

That's just the trouble! {He exits door R. 3.) 

Frank. 
{Into telephone.) 
Beg pardon.? * * * * Oh, I have a cold! {He 
coughs convincingly.) Your voice sounded strange, 
too. * * * * I thought it was one of his — other — 
friends! {He looks cautiously around toxvard the 
door and grimaces. Ellison not being in sight he 
goes on ingratiatingly.) Oh, I know you, of course, 
you are different ! * * * * Yes, he always did pre- 
fer blondes! {Or whatever the coloring of the girl 
playing Dora is.) 

Ellison enters looking at the letters in his hand. 
He overhears the last speech and looks up startled. 

Ellison. 
What's that.? 

J^RANK. 

{Hastily, into phone, hut keeping a weather eye on 
Ellison.) 
No, oh, no! I didn't say he went out with a blonde ! 

Ellison. 

{Starting around the desk after him.) 
I'll break your neck ! 

Frank. 
(In a gale of laughter.) 
Get away, Ellison, you're supposed to be out ! 
{He races around the lower corner of the desk as far 
as the telephone wire will let him and stands tip-toe, 
eyeing Ellison and ready to run in either direction 
if he moves. Into phone.) 



12 THE LIE THAT JACK BUILT 

Wliat? * * * * No, no, I'm quite alone! {They 

both make a start.) It's a dog barking in the street ! 

{Holding the telephone out to Ellison.) Here, 

bark like a dog ! ,-, 

^ Ellison. 

{Furiously.) 
You'll pay for this ! 

Frank. 
{Hastily into phone.) 
I'll tell him you phoned! Good-bj-'e! {He hangs 
up the receiver just as Ellison makes a grab for it, 
puts the phone back on the desk, laughing uproar- 
iously. He goes over and sinks into the armchair 
in front of the mantel, helpless from mirth.) 

Ellison. 
{Savagely.) 
I suppose you think you're very funny! {He sits 
in desk chair, wJieeling so he faces the audience, his 
hands in his pockets.) 

Frank. 
{Xodding.) 
Uh-huh! {He goes off into another gale of laugh- 
ter.) „ 

Ellison. 

I don't agree witli you ! 

Frank. 
Say, Jack, I didn't know 3^ou knew Dora Taylor ! 

Ellison. 
{Snappishly.) 
Well, you know it now and a nice mess you've got 
me into. -^ 

TRANK. 

Sorry for you! {He roars again.) Dora's temper 
has a beautiful start ! Gee, she was mad! 



THE LIE THAT JACK BUILT 13 

Ellison. 
{Suddenly sitting up and looking at Frank in sur- 
prise.) 
What do you know about her temper? 

Frank. 
(Rising and crossing to the desk and leaning on it, 
impressively.) 
My boy, I have the whole 57 varieties of Dora's 
temper classified and tabulated. 

Ellison. 
You have.'' _, 

r RANK. 

I have! ._ 

Ellison. 

(Suspiciously.) • 

How long have you known Dora? 

Frank. 
Ancient historj^, son! (He re-crosses to the arm- 
chair and sits.) Once upon a time I was engaged to 

be married ! ^^ 

Ellison. 

To Dora? ^ 

t RANK. 

Nope. Dora busted the whole thing up. 

Ellison. 

How? 

Frank. 

(Uncomfortably.) 

It was one of those things a chap couldn't explain 

but — (airily) I was innocent as a newborn babe! 

Ellison. 

(Cynically.) 

Oh, yes ! „ 

•^ Frank. 

You don't believe me now, but wait, rvait — till 



14 THE LIE THAT JACK BUILT 

you're engaged! (Ellison laughs feebly. Frank 
looks sharply at him.) What's the matter with you? 

Ellison. 

{Awkwardly.) 

I — I am engaged. 

Frank. 

You! Engaged!!! {He whirls around to the pictures 

on the mantel and begins to count them.) One, two, 

three, four, five, six, sev — {pauses, his finger still 

indicating the seventh, speaking to Ellison over his 

shoulder.) I say, Jack, how many of 'em are you 

going to marry .f* 

Ellison. 

Quit your kidding, this is serious ! If she finds out 

about Dora — good-night! 

Frank. 
Then — drop Dora ! 

Ellison. 
{Petulantly.) 
Hang it, Frank, I can't! (Frank laughs.) You 
know that, you've tried it! Besides — {specidatively) 
Dora is a very interesting study in feminine psy- 
chology ! 

Frank. 

Oh! That's your name for it, is it? {He laughs 
and turns back to the mantel.) I say. Jack, which 
is the future Mrs. Ellison? 

Ellison. 
{Scornfully.) 
She isn't in that bunch ! 

Frank. 
( Wheeling on him. ) 
What!! Got another bunch somewhere? 



THE LIE THAT JACK BUILT 1_5 

Ellison. 

(Dignifiedly.) 

Certainly not ! ( Takes a folding frame from the 

desk drawer and hands it awkwardly to Frank.) 

Frank. 

{Taking the picture and looking at Ellison. 

Mockingly.) 

Why blush so ? „ 

Ellison. 

(Returning crossly to his writing.) 

Oh, shut up ! -_ 

^ Frank. 

(Strolls over to front of armchair L. and opens 
the frame. As he sees the picture he stops dead. 
Under his breath — startled.) 

Helen Douglas ! Helen, by all that's wonderful ! 
(Rather shaken, he turns to Ellison, seriously.) I 
say, old man — this picture — it's — 

Ellison. 
(Irritably.) 
For heaven's sake, let me alone, will you ^ I'm busy ! 

Frank. 
(Laying the picture hack on the desk. Gruffly.) 
All right. I'll pack my bag. (He exits L. 1 E.) 

Ellison. 
(Mumbling.) 
Go ahead and pack it, then. (Frank begins firing 
his boots, etc., in bedroom.) Say! Keep quiet or 
shut the door! t?t,a^tt;' 

X' RANK. 

(Banging the door.) 
All right! Ellison. 

(Throwing his pen down in disgust.) 
Confound him ! He's upset my morning ! I'll never 
be able to square myself with Dora for this! (Re- 



16 THE LIE THAT JACK BUILT 

fleet Ively.) I wonder if slie was in love with him, 
too! (The telephone rings. Fkank, his arms full 
of shirts and collars, flings himself across from the 
bedroom, dropping them as he slides for the desk. 
Ellison grabs the telephone.) 

Ellison and Frank. 
(Simultaneouslfj, xcith a long drawn out, upward 
inflection.) 
Hcl-lo ! 

V KANK. 

{Sweetly.) 

Shall I answer it? ,^ 

Ellison. 

{Grimly.) 

No, thank you ! „ 

•^ Frank. 

( Virtuously.) 

You don't dare let ine answer it I'm too honest ! 

{He picks up his scattered belongings and exits 

into bedroom,, ostentatiously closing door behind 

him.) _^ 

Ellison. 

{Into phone, very crossly.) 
Hello, liello, liello ! {His tone changes to honeyed 
sweetness.) Oh, Helen, is that you.^ * * * * Three 
o'clock this afternoon ? But, dearest, I can't ! Hon- 
estly ! I'm terribly busy! * * * * ''Mr. Ellison!" 
Yes, 3Iiss Douglas ! Now, Helen, dear, don't be silly. 
Of course I want to see you before you go to Boston, 
only — Helen, listen, I'll tell you what ! You stop 
here on your way to the station and that will save me 
the trip up town! * * * * Nonsense! Wait a min- 
ute! {He has been speaking in a guarded tone not 
to be overheard by Frank. He noxv puts the phone 
on desk and goes over to door L. 1 E., speaking to 
Frank through the closed door.) I say, Frank! 



THE LIE THAT JACK BUILT 17 

Frank. 
(Offstage.) 

^^P' Ellison. 

How soon are you clearing out.'' 
Frank. 

In a few minutes. Why.^ 

Ellison. 

Nothing. Just wanted to know. (He goes back 
to desk, sitting on the L. corner, down stage. Picks 
up phone, into it.) Helen, come on down now! 
* * * * Of course it's perfectly proper. This is my 
office. We're engaged to be married. It's not likely 
I'd ask you to do anything that isn't right and 
proper. * * * * You'll come ? Good ! Good-bye, 
dear! (Puts dozen telephone, resumes seat at desk 
and starts to xcrite.) 

Frank enters whistling. He has his hat on, his 
overcoat over one arm and carries a suitcase and 
umbrella. Ellison. 

(Looks up.) 

Going, old man? Good-bye! (Goes on writing.) 

Frank. 
My, but you're sorry to lose me! I have lots of 
time! (He puts down suitcase and sits in armchair 
L.) What's your hurry.'' 

Ellison. 
(Uneasily.) 
Nothing, only — I'm expecting a caller! (Frank 
laughs. Ellison, very dignifiedly.) A caller on 
busi7iess! Just phoned. 

Frank. 
Oo-oh.? On business, eh? All right, I'll go! (He 
gets up with his baggage, indicating by his manner 



18 THE LIE THAT JACK BUILT 



that lie is "on") So long, old man ! (FKAiiK crosses 

to door R. 3,) -c, 

' Ellison. 

(iVo^ looking up.) 

So long! -n, 

^ TRANK. 

(At door, aside.) 
What's up? I'll just — forget — my umbrella! (He 
ostentatiously leaves his umbrella near door and 

exits.) T7> 

^ Ellison. 

(Looking around after Frank has gone.) 
Gone, thank goodness ! Now to clean up ! This 
place is a sight. (He begins to clean up the dis- 
order of the room, picking up the newspapers strewn 
on the floor.) I wish Frank wouldn't hang everything 
up on the floor -when he gets througli with it! (Hav- 
ing gathered the papers all up neatly, he notv either 
throxes them behind an article of furniture or off 
stage on the floor. He sxveeps tobacco ashes off desk 
into trash basket. Both lines and business of this 
scene can be filled in to suit the actor.) This cer-i 
tainly is a messy place! (Suddenly sees the photo- 
graphs on the mantel.) Great heavens, girls, I nearly 
forgot you ! I'm afraid you will have to go into tem- 
porary retirement. (He gathers them all up and 
bundles them into a desk drawer. Dora's picture 
drops to the floor.) Dora! Unmanageable as usual! 
(Picks it up and puts it in drawer xvith the others.) 
There goes your picture, anyway. I wish you were 
as easily disposed of. Now, then, Helen, we'll put 
these two pictures of you prominently on the desk — 
(places tlie folding case he showed Frank on the 
desk opened up and takes from another drawer a 
large framed picture of her) and this big framed pic- 
ture of you shall go on the mantel. (Places it there.) 



THE LIE THAT JACK BUILT 19 

Now, when Helen herself comes, there'll be a quartet 
of Helens! (Goes over, gets coat off chair and puts 
it on. The door-bell rings.) Helen! (Looks at 
■watch.) She must have broken the speed limit! (He 
goes to door R. 3 and opens it.) Welcome, my dear — 

Dora Taylor enters. He drops hack aghast. 

Ellison. 

Dora Taylor ! ! ^ 

•^ Dora. 

(Sweeping volcanically down stage and across L., 

looking about her.) 

Yes, Dora Taylor ! 

Ellison. 
(Folloxving her, panic-stricken, as she makes a com- 
plete sweep of the room.) 

What on earth — -^ 

Dora. 

(Sarcastically.) 

You evidently weren't expecting to see me! (She 

turns toxvard him menacingly.) 

Ellison. 

I certainly was not! (He notices Helen's pictures 

on the desk and has just time to slam them face down 

before she turns.) ~. 

' Dora. 

(Peering into room L. 2.) 

I hope I'm not interrupting you. Jack ! (She 

sweeps on up stage, past the mantel.) 

Ellison. 

(Folloxving her.) 

What madness brought you here — ah! (He sees 

Helen's picture on mantel, makes a dive and gets 

that face down as he talks) — without letting me 

know.'' (Dora goes down stage and crosses L. C, 



20 THE LIE THAT JACK BUILT 

having made a tour of the room, Ellison following 
her.) Gi'eat heavens! If anyone should see you here 
— in my apartment — what would they think? {Tak- 
ing her hands and trying to draw her toward door 
R. 3.) Darling, sweetheart, angel, please, please go 
immediately ! Dora. 

(Breaking away from him.) 
You're very anxious to get rid of me, aren't you? 
(She goes toward him, he retreats to R., walking 
hacktvard.) "Out for the day!" Yes, you look it! 
(Angrily.) It's just as I thought — you're expecting 
another woman ! :-^ 

LiLLISON. 

My dearest girl, what put that insane idea into 

your head? _w 

•^ Dora. 

Insane? Huh! (She turns away from him and 

zcalks over to armchair L.) 

Ellison. 

(Following her as far as the desk, where he sur- 
reptitiously picks up Helen's pictures and bangs 
them into the drawer. As Dora turns he falls into 
his revolving chair. The lines are spoken during the 
business.) 

Insane, certainly! Why I don't even know any 

other women! .^^ 

Dora. 

(Seating herself in armchair L.) 

We'll see! Ellison. 

( Groaning — aside.) 

Lord, if Helen comes now ! 

Dora. 

(Staring straight ahead of her into vacancy and 

speaking in a low, vibrant tone.) 

I was sitting at home, quietly, thinking of you — 



THE LIE THAT JACK BUILT 21 

Ellison. 

{Impatiently, rising and going up stage, hack of 

desk.) 

How kind ! Dora. 

{Dramatically.') 

Suddenly a voice seemed to say to me, "He doesn't 

love you any more !" .^^ 

•^ -^ Ellison. 

{Sarcastically.) 

That voice works overtime! {He goes up to man- 
^^^•) Dora. 

{Not heeding him and very dramatically.) 

Even now, the other woman is there, with him! 
Oo-oo-ohhhh ! ! (Ellison is just taking Helen's 
picture off the mantel with a view to hiding it. Do- 
ra's impassioned ''0-oo-h!" so startles him that he 
almost drops it. He recovers himself, hides the pic- 
ture under his coat and slides hack to the desk again. 
Her speech is uninterrupted hy his husiness.) I 
could endure it no longer! I called up your apart- 
ment! Ellison. 
{Uneasily.) 

And I wasn't even here ! ( He has come down in 
front of desk on this speech.) 

Dora. 
{Rising and advancing menacingly toward him.) 
Then how did you know.-^ 

Ellison. 
{Confused.) 
I knew I was out, didn't I? {He retreats as she 
advances.) Dora. 

{Fiercely.) 
When.^ {She takes another step toward him as she 
speaks.) 



22 THE LIE THAT JACK BUILT 



Ellison. 
{Very much rattled.) 
Why, when — when I came In, of course! 

Dora. 
{StiU suspicious.) 
You must have come in Immediately.'' 

Ellison. 

^ ^ ' Dora. 

{With another movement toward him.) 
Why didn't you call me up? 

Ellison. 
{Baching away.) 
W-why-y— j)oj^^ 

{Angrily.) 
Why didn't you call me up? 

Ellison. 
{Very nervously.) 
I — I — I was g-going to ! 

Dora. 

Rubblsli ! {She turns away from him in disgust 

and crosses L.) _, 

Ellison. 

{Hastily concealing Helen's picture in his desk 
draiver and sitting at desk, beginning to write furi- 
ously.) 

But I'm very busy today — no time to stop for 
anything! ' ^^^^ 

{Suddenly turning and hurling her question at him.) 
Why did Andrews tell me you had gone out for 
tlie day? {Over to desk). Did you tell him to tell 
me that? Answer me! {She picks up telephone and 
slams it on desk to punctuate her remarks. Ellison, 



THE LIE THAT JACK BUILT 23 

very much rattled, falls over backward in the revolv- 
ing chair.) Ellison. 

(Picking' himself up.) 
No — yes — why, he thought I had! 

Dora. 
(Deliberately.) 
I — don't — beheve — you ! 

Ellison. 
(In a much aggrieved tone.) 
Oil, well, of course — 

Dora. 
(Tragically.) 
I felt — I knezo — something was wrong! And the 
voice spoke to me again : "Go," it said, "and you 
will find him out !" ^ 

JjjLLISON. 

(With a ghastly attempt at a joke.) 

Instead of which you find me in! That's a joke! 

Ha! ha! (Dora glares at him.) Ha-hard at work, 

and some — some stupid people coming to — to lunch, 

almost immediately. Why, I thought it was they 

when you came ! _^ 

•^ Dora. ' 

(Turning on him and speaking in a voice in which 
triumph, rage, jealousy and hysteria are blended.) 
So she is coming, after all ! You admit it ! She is 
coming f Ellison. 

(Backing away from her.) 
She? Who? DoEA. 

(Melodramatically.) 
The other woman ! 

Ellison. 
(Very virtuously — lying by the clock.) 
My good old friends, the — the — Robinsons are 



24 THE LIE THAT JACK BUILT 

coming. They should be here now ! Dora, you must 
go immediately! {As he speaks he takes her hy the 
arm and attempts almost forcibly to lead her up to 
door R. 3. Dora has been standing down stage, 
almost in front of desk. Ellison in front of desk 

^''^"^■•) Dora. 

Still trying to get rid of me, aren't 3^ou.'' 

Ellison. 

Oh, no, no, I want you to stay — 

Dora. 

{Swinging in front of him and sitting in desk chair.) 

Thank you, I will!^ 

Ellison. 

(L. of desk, in a panic.) 

Oh, oh, but you mustn't ! Really ! Think, Dora, 

think of your reputation ! That is more precious to 

me than all the world ! 

Dora. 

You're very clever, Jack Ellison, but you can't 

fool me! {She looks at him steadily, firmly.) You 

are expecting a woman and I sha'n't stir one step till 

I see her! Ellison. 

{Drawing himself up.) 

Yes, a woman ! ^^ 

Dora. 

I thought so ! -r^ 

^ Ellison. 

And — her husband ! _ 

Dora. 

{Sceptically.) 

Indeed ? ^ 

Ellison. 

Yes, Mr. and Mrs — Robinson ! 

Dora. 

( Disagreeably. ) 

Oh? ]Mr. and Mrs. Robinson, eh.? 



THE LIE THAT JACK BUILT 25 

Ellison. 
{Nervously and placatingly.) 
Yes, they're old friends of mine — old friends of 
the family, rather — and — and — they — they've just 
recently been married, and I'm giving them a little 
blow-out before they leave for Boston! {He con- 
cludes in a little burst of triumph at his own inge- 

nuiti/.) -p. 

•^ ^ Doha. 

{Sarcastically.) 

On their honeymoon? {She rises on this speech 

and sweeps down L. SJie is not at all impressed, 

Ellison drops down C.) 

Ellison. 

{Eagerly.) 

Yes, on their honeymoon, so you see, Dora — 

{there is a loud peal of the door-bell. Ellison turns 

down stage R. Aside — in horror.) Helen! {The 

bell rings again. He stands, paralyzed with fear, 

unable to think. Dora turns and looks at him, he 

speaks accusingly.) Now you've done it! It's the 

Robinsons ! -r^ 

Dora. 

( Jeering. ) 

Oh, is it.? Well, why don't you let them in.? 

Ellison. 
{Holding his head in despair.) 
Oh, Lord! {The bell rings again.) 

Dora. 

{Nastily.) 
Don't consider me. 

Ellison. 
{Miserably — trying to think.) 
S'pose I've got to let 'em in. I invited 'em. 



26 THE LIE THAT JACK BUILT 

Dora. 

(Sarcastically .) 
Of course! (Bell again.) 

Ellison. 
(With a sickly grin, echoing.) 
Of course! (He starts despairingly toxcard the 
door; then, stopping and pulling himself together, 
speaks heroically.) So be it!! Now, woman, you 
shall see how you have misjudged me! {Aside.) I 
hope! {The door-hell rings again; he almost weak- 
ens. ) T\ 
' Dora. 

{In a panic — for the first time thinking she has made 
a mistake.) 
Oh, Jack, let me hide! {She starts toward C. 

^^^^•) Ellison. 

{Heading Her off.) 

No ! You got into this mess, now you must trust 

me to get you out of it ! 

Dora. 

{Pulling away from him and starting toward 

door L.) 

Yes, but — „ 

Ellison. 

Look out ! 

(Dora screams and starts back.) 

Don't go in there! ^^ 

^ Dora. 

Why not? „ 

"^ Ellison. 

R-Robinson — always goes in there to — to — put 

on his slippers. Always puts on slippers when he 

comes here to lunch! {Bell rings again.) 

Dora. 

{Wringing her hands.) 

But I must hide somewhere! 



THE LIE THAT JACK BUILT 27 

Ellison. 

(Aside.) 

Hide ! I guess not ! ! I can watch her out here ! 

Dora. 
Jack, what shall we do ! 

Ellison. 
(Wildly.) 
Do! Do!! (A sudden inspiration comes to him.) 
By Jove ! An idea ! 

He goes up and opens door R. 3. Helen Doug- 
las enters, almost running into his arms. 

Helen. 
(Affectionately, putting her face up to be kissed.) 
Jackie, dear, how are you.? 
Ellison. 
(Backing away from her and shaking hands at arm's 
length.) 
AVhy, how do you do, iNIrs. Robinson, Mrs. Rob- 
inson! (He makes faces at her to indicate his mean- 
ing. Dora, who has started into the bedroom, turns 
at the sound of a woman's voice, undecided what to 
do. She stands at the opposite side of the stage, 
trying to hear.) Helen. 

(Bewildered.) 
Robinson.? Ellison. 

(Still shaking hands effusively.) 
You are on time for luncheon, I see, but where is 
that husband of yours? Is he behind you? (He peers 

out into tlie hall.) ^t 

Helen. 

My husband? „ 

•^ Ellison. 

Yes, yes! (Aside to Helen.) If you love me, lie 

a little •' 



28 THE LIE THAT JACK BUILT 

Helen. 

( Whispering. ) 
Who is it? What is it? What's the matter? 
(Seeing Dora.) Oh! Who's your friend? 
Ellison. 
(Aside to Helen.) 
My cousin! She's going in a minute! (Aloud.) 
But you haven't yet told me where your husband is? 
Helen. 
Oh, yes, my husband? He sent me on ahead, but 
I do hope he won't be late ! 

Ellison. 
So — so do I — well — 

DOKA. 

(Interrupting.) 
Excuse me! (Ellison is now down stage in front 
of desk; Dora at his L.; Helen at his R.) 
Ellison. 
I — I beg your pardon, Mrs. Robinson, this is — 

is my cousin, Mrs. (Dora gives him a warning 

jab with her parasol; in an agonized tone) Mrs. 
Payne! I've been 50 anxious for you two to meet! 
I told her I was expecting you — (as he looks from 
Dora to Helen) and I've been trying to persuade 
her to stay to luncheon, but she lives in the country 
— (He goes over to Dora and looks at her mean- 
ingly) — and must get home! (As Dora regards him 
icily he becomes panic stricken.) 
Dora. 
(Standing her ground, xeith a frosty smile.) 
Nothing doing. Jack! 

Ellison. 
( Wilting and fading up stage.) 
Really, it's awfully warm here — I — I — think I 



THE LIE THAT JACK BUILT 29 

better open the window. (He starts toward window 

""P ^') Dora. 

{Decisively.') 
I've changed my mind! (Ellison stops.) Now 
that I've met Mrs. Robinson, I shall stay to luncheon 
after all! {She sits in armchair L.) 

Ellison. 
(Collapsing in desk chair.) 
Oh, Lord! (Helen, a little angry, doubtful and 
very uncomfortable, sits in armchair R.) 

Dora. 

(With sugary politeness and insulting emphasis.) 
Do you think your — husband — will be very late, 
Mrs. — er — Robinson ? 

Helen. 
(Also very sweetly, and in exact imitation of Dora's 
intonation.) 
I sincerelj' hope not, Mrs. — er — Payne. I — (El- 
lison coughs warningly ; she corrects herself.) We 
have a train to make I 

Ellison. 
(Perfectly miserable and thoroughly foolish.) 
Yes, she makes the nicest little trains — (He looks 
at Dora, giving a foolish giggle, she turns on him 
furiously. He looks at Helen, but she, too, is dis- 
gusted and turns away. He laughs foolishly again.) 
When — what train are you going to make, Mrs. 
Robinson.'' (Pause. Both women are quite disgusted 
with him and look straight ahead of them.) How 
cold it is here ! I think I'll close that window ! 

^^''''•) Dora. 

(Icily.) 
You didn't open it ! 



30 THE LIE THAT JACK BUILT 

Ellison. 

{Stopping irresolutely.) 

Oh, didn't I? {He sits.) 

Dora. 

{Emphatically .) 

No, you didn't! „ 

•^ Ellison. 

That's so, I didn't ! You see, I've been working 

very hard, and I haven't been out all day, so I — 

Dora. 
( Triumphantly. ) 
Indeed! Ellison. 

{In consternation.) 
Oh! {There is a long peal of the doorbell that 
startles everybody. Pause. They all rise sloxvly and 
simultaneously. Slight pause.) 

Dora. 
{In a very quiet conversational tone.) 
The bell rang. Ellison. 

{F oolishly .) 
The bell? Oh — did the bell ring? {He looks from 
one to the other, grinning idiotically.) 

Dora. 
Yes, the bell rang! 

Helen. 
{Drawing a long breath.) 
Don't you think you better go to the door? 

Ellison. 
Oh — g-go to the door? 

{The doorbell rings again.) 

Dora. 
{Rather sarcastically.) 
It is probably Mrs. Robinson's husband! 



THE LIE THAT JACK BUILT 31 

Helen. 
Probably ! 

• Dora is standing in front of armchair L., her 
head turned toward door so she is first to see Frank. 
Helen is down stage about in front of armchair R. 
and facing front. Ellison is in front of desk, un- 
certainly looking from one to the other when Frank 
enters. _. 

r RANK. 

(Coming in breezily, light down to Ellison, and 
speaking as he enters.) 
I say, Jack, I forgot my umbrella ! 

Dora. 
(Coming down stage, aside, quickly.) 
Frank Montgomery ! 

Ellison. 
(Turning and grasping Frank's hands effusively, 
shaking hands and boisterously greeting him as a life 
saver.) 

Why, hello, Robinson, old chap, how are you, Rob- 
inson ! Robinson, my old friend, it's good to see you 
again!! Frank. 

(Surprised.) 

Robinson ? t^ 

Dora. 

(Aside, mystified for the moment.) 

Robinson ? „ 

Ellison. 

(Making signs to Frank and still shaking hands 

effusively. ) 

No apologies, no apologies ! Got here at last ! 

Your wife— jy^^^ 

(Aside.) 
His wife ! 



32 THE LIE THAT JACK BUILT 

Frank. 
My wife! ^ 

iiiLLISON. 

(Indicating Helen, zirho has her back turned to them 
and is enjoying- the situation.) 
Your wife was beginning to get impatient ! 

Frank. 

What in — (Ellison wheels him toward Helen, 

who turns; the recognition is mutual.) 

Helen Douglas ! _,- 

° Helen. 

(Surprised.) 
Frank! (As he turns Frank toward Helen, El- 
lison himself moves backward, so that he accident- 
ally bumps into Dora, who has now sized up the sit- 
uation and whose expression shows it. Ellison turns 
to apologize and meets her sarcastic smile. They 
are absorbed in each other and therefore miss the 
recognition between the other two. Ellison, seeing 
Dora's expression, suddenly remembers that Frank 
and Dora know each other.) 

Ellison. 
(Aside.) 
Good Lord, I forgot he knew Dora! (Throws up 
his hands and goes up stage in despair. Dora fol- 
lows him with her eyes, still smiling sarcastically.) 

Helen. 
(Recovering first and trying to help Frank under- 
stand the situation.) 
So glad you've come, dear. I was afraid you were 
going to keep Mr. Ellison's lunch waiting. (She 
puts her hand confidingly on his arm.) 



THE LIE THAT JACK BUILT 33 

Fraxk. 
{Promptly covering her hand with his and looking 
at her fatuously.) 
Y-jes— n-no— jy^^^ 

{Going up to Ellison.) 
Well, introduce me! {She smiles wickedly.) 

Ellison. 

{Unhappily conscious of the mess he is in, comes 

down stage to front of desk. Dora strolls down L.) 

I forgot! Mr. — er — Mrs. — er — er — Mr. — 

Helen. 

{Prompting him.) 

Mr. Robinson. _, 

Ellison. 

^'^J'y^s — Mr. Robinson, this is my cousin, Mrs. — 

Helen. 

{Prompting again and attracting Frank's atten- 
tion; he is so absorbed in her that he is not looking 
at Ellison.) 

His cousin, Mrs. Payne, dear! 

Ellison. 

Yes, Mrs. Robinson, Mr. Payne, I — I mean — Mr. 

Payne, Mrs. Robinson, oh — 

Frank. 

{To Helen.) 

What.? 

Helen. 

Mrs. Payne, dear — 

Frank. 

Oh, yes ! Mrs. Payne, dear — {He crosses to shake 

hands with Dora before he sees who it is.) Good 

Lord, Dora ! -n 

' Dora. 

{Suavely.) 

So pleased to meet you, Mr. — er — Robinson.'' 



34 THE LIE THAT JACK BUILT 

Feank. 
(Shaking hands, his composure recovered, amused.) 
So pleased, Mrs — er — Payne? 

Dora. 
I got the name right? — Robinson? 

Frank. 

Yes, Mrs — Payne! {They look at each other a 
moment, measuring one another, then, with a little 
laugh, Dora turns away from him and strolls up 
stage. She is going in Ellison's direction, but he is 
trying to avoid her. Frank continuing and crossing 
hack to Helen — in a low voice.) Say, whom am I 
supposed to be? Helen. 

{Aside.) 

'Sh! My husband! {Aloud.) Yes, dear, I was just 
saying I hoped your forgetfuhiess wasn't going to 
make us lose the three o'clock train to Boston. 

Frank. 
{Ardently taking Helen's hands.) 
Nothing would make me lose that! (Ellison's 
side-stepping now causes him to bump into Frank, 
and he hears the last speech. To the others, rather 
foolishly.) Lovely trip to Boston by boat. Why 
don't you go by boat — boat so much nicer than train. 
You take the — the — the — 

Dora. 
{Freezingly.) 
Yes, the — (Ellison looks at her and wilts. She 
stands down stage L. C.) 

Helen. 
( Helpfully. ) 
The Joy Line, Mr. Ellison? 



THE LIE THAT JACK BUILT 35 

Ellison. 

(Gratefully.) 

Yes, the Jov Line. _. 

•^ Frank. 

{Promptly putting his arms around Helen.) 
It's always the Joy Line when you are with me, 
Helen! (Very tenderly.) 

Ellison. 
(Startled — aside.) 
Helen? (Aloud.) Did you say Helen.'' (He ad- 
vances menacingly on Frank.) 
Frank. 
(Facing him down.) 
Certainly I said Helen ! Why shouldn't I say 
Helen ! Isn't she my wife ? My own little Helen ! 
(He takes her in his arms.) 

Ellison. 
(Wildly.) 

Don't do that! 

Helen. 

(Embarrassed — drawing away from Frank.) 
Don't be silly, Frank! 

Ellison. 
(Tearing his hair.) 
Frank! Good Lord, what next! (Goes up stage.) 
Helen. 
(Sitting in armchair R.) 
Yes, it would be very serious if we didn't get back ! 
(As she sits Frank goes up stage and joins Elli- 
SON.) Dora. 

(Sitting in armchair L.) 
Indeed.? jj^^^^ 

(Demurely.) 
I've never left the children so long before! (El- 
lison looks at Helen in consternation; Frank re~ 



36 THE LIE THAT JACK BUILT 

gards her in startled surprise, then, as though the 
situation were too much for them, they turn and walk 
^P stage.) ^^^^ 

(Startled.) 
The children? The children? 

Helen. 
(Nodding.) 

Dora, 
(Aside — looking straight out to the audience.) 
And on their honeymoon! (Politely to Helen.) 
How many children have you, Mrs, Robinson.'^ 

Helen. 

( Gushing. ) 

I have two — (Ellison coughs beseechingly) — the 

dearest little things! (Frank coughs; after each 

cough Helen looks at them, innocently inquiring — 

and goes on talking.) But of course you'd expect 

me to say that ! _, 

"^ Frank. 

(Coming down stage and sitting on the arm of Hel- 
en's chair. Trying not to laugh.) 
They take after their mother ! 

Dora. 

(Satirically.) 

How charminff! ^t 

^ Helen. 

( Hurriedly. ) 

Helen, the little girl, is named after me, and the 

^ Frank. 

( Who is having a very good time. ) 
Named Francis, after his father, though they usu- 
ally call us both Frank I 



THE LIE THAT JACK BUIL T 37 

Dora. 
How old are your children, Mr. Robinson? 

Frank. 

{Blandly.) 

Which one.'' -t 

Helen. 

{rnterrupting.) 
Little Frank is five and Baby Helen three. 

Frank. 

I never can remember their ages — fathers never 

can. ^ 

Dora. 

Really, you surprise me. I should never have im- 
agined you'd been married so long! 

Ellison. 
{Suddenly.) 
They haven't! {They all look at him, rising to 
their feet. He begins to laugh nervously.) No — 
no — that is — I mean — it is surprising, isn't it.'' 

Dora. 
{Sarcastically .) 
Very ! 
(Frank, Dora and Helen reseat themselves.) 

Frank. 

{Talking fast.) 

As my wife says, they're both beautiful children. 

One of them has — „ 

Ellison. 

{Wrathfully, unable to endure Frank's attentions 

to Helen any longer.) 

I say, Frank, it's quite unnecessary for you and 

Helen to occupy the same chair! (Frank doesn't 

move — exasperated. ) The arm's loose, anyway ! 

Mon tgomeryU 



38 THE LIE THAT JACK BUILT 

Dora. 
(Rising; in friinnph.) 
(){)-olili ! IMontgomcrv ? I thought the name was — 
Hobinson? (There is a momcnfs general consterna- 
tion, Dora lidding the whip hand.) 

Helen. 

(She has an idea, which the audience should see 
daxen in her face; she comes to Kllisox's rescue with 
well- simulated admiration.) 

There! (She rises.) You did think of it, didn't 
you, Jack.'' ^ 

(Perfectly blank.) 

Huh? (None of them have the faintest idea what 

she is driving at.) __ 

° ' Helen. 

(Directly to Dora, in elaborate explanation.) 

You see, it is so confusing to have a httle Frank 

and a big Frank in the same family, that we are all 

trying to call Papa Frank, here, by his middle name 

of Montgomery! (Blank and helpless amazement 

from the txco men.) ^-v 

' Dora. 

(Aside — in reluctant admiration.) 

The little liar! 

Helen. 

( Complacently. ) 
But really, it is very difficult. I never can remem- 
ber it myself. I'm so used to calling him Frank! 

Dora. 
(Dryly.) 
Indeed! It must be most perplexing! (To Frank, 
xvho comes C. to her.) So, Mr. Robinson, your mid- 
dle name is Montgomei*y .'' 

Frank. 

les. 



THE LIE THAT JACK-BUILT 39 

Dora. 

(Meaninghj.) 
Any relation to tlic Boston Montgomery's? {In 
this little scene with J'rank, Dora has her one chance 
to shorv that she is really an attractive woman and 
not merely a shrew.) p^axtj^ 

{Blandly.) 
Yes, cousins. j^^^^^ 

{Significantly.) 
I used to know one of tliem. 
Frank. 

{Impudently.) 
Maybe you've met my cousin Frank! 

Dora. 
{With a long, lingering, sentimental look at him.) 
I knew him very well — once! {She gives a little 
insinuating laugh and turns away; Frank stares 
after her.) ^^^^^ 

{Who has been listening and trying to fathom the 
situation.) 
She knew him !• And her name's Dora ! ( Under- 
standing at last.) Then it must be Dora Taylor! 

Ellison. 
{Worried — coming down stage to Helen.) 
Helen, I want to speak to you a minute! 

Helen. 
{Angrily.) 
Well, I don't want to speak to you, ever again ! 
Here's your ring! Our engagement's broken! {She 
starts up stage.) 

Ellison and Frank. 
Helen ! ! 



40 THE LIE THAT JACK BUILT 

Dora. 
( Crossing' C. — imperiously.) 
Your engagement ! You aren't engaged to Jack 
Ellison! He belongs to me! (Helen turns and 
faces her as she speaks.) 

Ellison. 
(Plaintively.) 
I don't! ^ 

UORA. 

( Emphatically. ) 

You do ! „ 

Irank. 

He does!! ,._ 

Helen. 

( Violently.) 
Oil, does he ? Well, keep him ! I'm going home ! 

Ellison. 

Helen, listen to me! 

Helen. 

I've been listening to everybody, and I've had 

enough ! „ 

^ Frank. 

(Going to her and patting his arms around her.) 

My poor darling! • 

Helen. 

Frank, take me away from here ! 

Dora. 

Yes, take her to Boston, on the Joy Line, on your 
honeymoon — and — be — sure — you — take — the — 
children! (As she speaks she follows them to the 
door, they receding but still facing her. She liter- 
ally talks them out of the room.) 

Frank. 

(As he puts Helen out the door.) 

Not yet, but soon! (He makes a hasty exit.) 



THE LIE THAT JACK BUILT 41 

Ellison. 

(Sinking info desk cJiair — vert/ xveakly.) 

Helen ! ^^ 

Dora. 

(Mimicking.) 

Helen! {Scornfully.) A nice specimen you are! 

{Very patronizingly and sarcastically.) And j^ou 

thought 3'ou were clever enough to keep two women 

on a string, did you? Let me tell you something, 

that's a woman's game — there isn't a man living 

clever enough to get away with it ! Good afternoon 

Bonehead! {She goes out slamming the door.) 

Ellisox. 
(Sitting at the desk, utterly disgusted.) 
Well, I'm glad they've all gone! I'll never love 
another woman! Never again! (Telephone rings.) 
Crossly.) Hello, hello, hello! (His tone changes to 
cooing sweetness.) Oh — is that you, Mabel.'' Sure, 
come on up, I'm all alone ! 

Curtain. 



Gettin' Acquainted 

BY 

Georgia Earlh 

QUAINT, small- town comedy in 1 act; 1 male, 2 
female;?. Time, 25 minutes. Scene: A New Eng- 
, land .sitting room. Played for three years by the 
talented authoress herself, on the Keith and Orpheum 
circuits; in New York, Chicago, Toronto, San Fran- 
cisco, New Orleans and cities in l>etween, it struck a 
new note in vaudeville and has been compared witli 
"The Old Homestead," Mary E. Wilkins' stories, etc. 

CAST OF CHARACTERS. 

Jane Stewart A Spinster 

Priscilla Stewart Her Sister, Also a Spinster 

John Purdy A Wooer for Fifteen Years 

All have heard of men who courted foi' years and 
did not "pop"; most communities can furnish living 
examples. The idea has never been used before witli 
such clever and spriglitly results. Honest, slow-think- 
ing, yet withal determined John Purdy had spent 15 
\ears just gettin' acquainted with tlie Stewart sisters, 
Jane and Priscilla. Finally Jane "goes and gets herself 
engaged" to another man but decides to bring matters 
to a focus for Priscilla. She determines to "make it 
snappy" and poor old Jolin is "railroaded" into camp. 
Splendid lines and "business" so unusually clever as 
to place it almost in a class by itself among one-act 
plays. Like most talented creations, its simplicity 
commends it; well adapted to amateur presentation. 
Very minute directions for staging, acting and "busi- 
ness." Four excellent half-tone reproductions of scenes. 

Professional stage rights reserved and a 
royalty of five dollars required for amateur 
performance . Price, Per Copy, 35 Cents 



T. S. Denison & Company, Publishers 

154 West Randolph Street CHICAGO 



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ZARAGUETA OR MONEY TALKS 

Translated from the Spanish by Clarence Stratton. 

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